The song hit number one in the UK, and made the Top 10 in the U.S.A. - an international hit. This early example of distorted guitar worked its magic through the use of power chords and riffs that would influence later genres such as heavy metal and punk. I've never been much of a Kinks fan, but I do like this song, and strangely because of the piano hammering away behind the thick guitars and vocals. That roots-of-rock'n'roll sound appeals to me the same way The Who used it to perfection in their music. Just a dash of 50's Fats Domino thrown in there as the 60's bands pushed the boundaries of rock.
Then more than a decade later, along came a debut album by a quartet from Pasadena, California - Van Halen. Yes, I'm sure you saw that coming. Between Eddie's fiery guitar licks and Diamond Dave's party-time hollering, the song was transformed into a heavy metal (or hard rock, if you prefer) classic. Van Halen gave You Really Got Me a new lease on life, and it shot into the Top 40 in 1978.
In addition to Van Halen's technique and polish, there is a roaring surge of energy that we sure don't hear on the relatively staid Kinks version of the song. Say what you will about Roth's glam aspirations... he provides the outlandish showmanship that launches this song into the stratosphere, with no disrespect for Eddie's fretboard talents. And guitarmanship aside, Ed and especially bassist Mike Anthony provide some of the finest backup vocals in the rock biz.
Next up, Helter Skelter by the lads from Liverpool, The Beatles. Even these guys played a hand in the development of heavy metal. Helter Skelter is by far the heaviest of all their songs, with the catchier Hey Bulldog (with piano!) not far behind. This 1968 head-basher, as far as I know, must have been the heaviest tune around at the time... so take that, Blue Cheer! It sounds like Ringo is demolishing his drums and cymbals... and it sounds like he's got a 20-piece kit.
McCartney, on a departure from his usual ballads, pop ditties, and moderate rock, absolutely tears it up on Helter Skelter with throat-razing vocals. An interesting false ending gives way to another blast of instrumental mayhem.
Then Pat Benatar put her own version of Helter Skelter to vinyl in 1981. Her rendition is very faithful to the original, thanks to her skilled crew of musicians, and of course, her powerhouse vocal delivery. This and the Beatles' takes on the song are so similar that it's hard to select a favourite. Pat's is trimmer without the false ending and extended noise, and I may prefer her cleaner feminine singing voice to McCartney's raspier yelling style. Still, the original holds a certain violence, urgency, and danger that is missing in the Benatar track.
The 1966 Simon and Garfunkle song Hazy Shade of Winter was a modest hit with its light and lively vibe. It's a short and catchy ditty, and I guess I can't diss it in any way since it's Simon and Garfunkle, after all. I've just never really gotten into the duo's music, though I can enjoy a handful of their best songs. The acoustic guitar and electric piano create a pleasant sound and mood, though the overactive drumming feels out of place. But that's just me.
The Bangles brought their own treatment of Hazy Shade of Winter to the world in 1987. This is a more rocking version, with cooler keyboards, an electric guitar twang, and their silky girl-band vocal harmonies. For me, The Bangles win out. For one thing, this pumped-up version of the song is the only one I've even known until recent years, so the lightweight 60's original sort of pales in comparison.
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